Manjula Padmanabhan is
among the fewest contemporary play­wrights who have added fruitbearing
possibilities to the theatrical development in the country. R. K. Dhawan rightly
observes: “Very recently Indian English Drama shot into prominence. Younger
Writers like Mahesh Dattani and Manjula Padmanabhan have infused new life into
this branch of Writing”. (19)

Padmanabhan’s Lights
Out is based on an eye witness account; the incident took place in Santa
Cruz, Mumbai, 1982. The characters are placed here between complete, unnoticed
silence and palapable, horrifying screams. A group of urban middle class people
watch brutalization of a woman in a neighbour­ing compound but fail to perform
any meaningful action. The play also proposes a complete negligence towards a
woman’s (Leela) fright and sensitivity, by her husband.

In the first scene of
the play. Leela’s worry forongoing crime, night after night, in
neighbouring compound is clearly seen in her expression; “When you were away on
tour, I couldn’t sleep at night! And with all the windows shut with all the
curtains drawn, with cotton in my ears – the sound still came through! Even in
the children’s room, on the other side of the house, I could hear it!” (138)
Her request to call the police is denied on the basis, ‘police generally
ignores the complaint’. Bhaskar (Leela’s husband) takes the stance: “I don’t
want to stick my neck out, that’s all”. (140)

Being a woman, Leela finds
it difficult to keep herself as a passive observer of a woman being molested
just outside her house. The rude and loud voice dreads her continuously. Leela
is informed by her husband about a guest coming that night for dinner. He
suggests her: “Baby, you must learn to ignore it now, I insist”. (143) She
replies: “If it takes so much effort to ignore something, isn’t that the same
thing as not ignoring it?” (144)

Bhaskar’s reaction to
the incident seems callous and insensitive.

The arrival of the guest,
Mohan Ram commences the second scene. Mohan is being told already about the
screaming by Bhaskar. Mohan is curious to know about the horrible incident
rather to help the victim. His hypocritic nature can be seen clearly in his
expression: “But–why not? What harm is there in watching?” (149) Bhaskar and
Mohan’s attitude insinuates the typical urban middle class mentality which
prefers to discuss rather to perform. Mohan’s declaration: “Personally, I’m
against becoming entangled in other people’s private lives. Outsiders can never
really be the judge of who is right and who is wrong”. (153) communicates his
unwillingness to act practically in the favour of the victim. Bhaskar tells
Mohan about the assailants and their naked appearance. The shamelessness of
these assailants becomes the subject of their discussion.

It panics Leela to
listen to their discussion. No interfere of people or even of police makes
Mohan to consider the incident as, ‘a religious ceremony’. Bhaskar concedes
with Mohan and takes the incident as a ritual. They successfully turn the
seriousness of the subject to triviality.

The bizarre sounds of
women open the third and last scene in the play. The sound is truly ragged and
unpleasant. The sound begins with distinct words – “Let me go! Help me!” and it
ends into a general screaming, sobbing; with a jagged tired edge to it. At the
dining table Leela is found with hollow eyes and tension. The screaming makes
no difference for Bhaskar and Mohan. Another woman character, Naina appears on
the stage, She is Leela’s school mate. Like Leela, she is also anguished by the
sounds while the men Bhaskar and Mohan are fascinated and morbidly curious.
Their attitude signifies escapism. While willingness of Leela and Naina to help
the victim discovers their womanly affection.

Surinder – Naina’s
hasband, appears on the stage with his violent passion. He plans to kill them
all. His exasperation is seen clearly in his expression: “let’s go and wipe
them out!” (181)

His compassion for
victimized women is in vain. Though he reacts differently than Bhaskar and
Mohan; he fails to instigate any decisive action. He embarks on the journey of
passionate expressions only. No one goes to the aid of the victims. Meanwhile
the screaming stops as the rapists run away from the place.

Lights Out appears
to be more in the nature of a discussion play. Mahesh Dattani aptly observes it
as, “a play that deals with urban dilemma”. (xii) It is an ugly face of urban
society that has been effectively mirrored through this play.